Canberra Symphony Orchestra Magazine

“When we are young, we jump headfirst into stories, into magic and fantasy and make-believe. We spend hours occupied with the tales we have invented ourselves, play-acting them and recruiting others to take part. I’ve been thinking about this recently: my seemingly lost ability to leave the reality of bills and deadlines for the creations of my imagination.” – Megan Stellar

Phillip Sametz explores Prokofiev’s Romeo and Juliet score, “…one of the most widely loved of the classical ballet repertoire…”.

In the Second Piano Concerto and other creative output of that period, Rachmaninoff displays “…a new assuredness of style…an almost overwhelming abundance of melody,” writes Scott Davie.

“Viridian is the work in which Meale decisively turned his back on modernism,” writes James Koehne.

One of Mozart’s last operas, La clemenza di Tito (The clemency of Titus), is a story of friendship and forgiveness triumphing over jealousy and violence.

“Mozart was a crucial turning point in the entire history of opera and musical drama,” says conductor Dane Lam, joining National Opera and the CSO to present La Clemenza di Tito.

“Go Ruth! Go Ginsburg! Rest forever amongst us, dearest Ruth Bader Ginsburg.” – Moya Henderson AM

“Each movement captures a section of the original painting and the artists who created it,” writes Deborah Cheetham in the program note for Song for Dulka Warngiid. “My task as a composer was to respond to capture the vitality and presence of the Kaiadilt women.”

“Contemporary Australian composers have the opportunity to learn from and be influenced by a wealth of musical styles that have passed before them. Matthew Hindson’s Rush is one such piece that, while containing a mixture of these musical characteristics, in turn displays its own style unique to the composer,” writes Michelle Kennedy.

“…Rather than shape a conflict-and-resolution musical path, ideas just start and stop in a riddle-ish or enigmatic fashion,” writes Peggy Polias of her piece, “The Moon”.